Man of Steel #1-6 covers by John Byrne, Dick Giordano & Tom Ziuko. 1986.
John had this to say about Man of Steel at his forum 10/29/2013.
One of the worst thing to happen in comics in the last thirty years or so was MAN OF STEEL. Not because there was necessarily anything inferior about the product per se, but because, pretty much all by itself, it created a MINDSET. Before MoS, writers, artists and editors picked up a new assignment and understood that their job was to continue from the point at which they arrived. After MoS, it became all about “reboots”.
At the time I accepted the Superman assignment, many DC staffers had only recently become enamored with desktop computers, and computer terms were flying around the Office. “Reboot” was one. I have wondered many a time since, if I had come to Superman as little as a year earlier, before everyone was in love with computers, would I have been allowed to do the “fix” as I wished — as a multi-issue in-continuity story that took Superman from where he was to where I thought he should be — instead of as a “reboot”.
If I had, perhaps comics would not be in quite the same mess they are today. (Tho, truth to tell, the poison was already seeping into DC veins, and from there into the rest of the industry. The poison was called CRISIS ON INFINITE EARTHS.)
The Thing/Prince Of Darkness/In the Mouth Of Madness
I think I’m going to watch all three in sequence and write a longer piece.
-This was shot anamorphic using wide lens, so in wide shots there’s a nice curve at the edges of the frame.
-I like the way Carpenter shoots downtown LA in general. It’s all warehouses and derelict structures. Generic even. I like what Carpenter does (particularly in the Apocalypse Trilogy) with single, cut off locations acting as backdrops for struggles that will determine the fate of the human race (usually not a good one).
-The church in PoD is almost more remote and cut off than the station in The Thing, because it’s in the middle of the city, yet no one has any idea what will be decided there. Isolation among many. Which now that I think of it is a good analogy for several of the characters in the film, particularly the romantic leads. I’m being pretty generous with the material on that score though, because people could argue that it’s subtle to non-existent in the text.
-In The Mouth Of Madness’s cut off location is a town that only exists in fiction, so it’s kind of the ultimate version of the removed location. It exists in the mind of the author. In that way, ITMoM acts almost as a meta summation of The Thing and PoD (someone hand me a lighter, I’m inside my ass)
-containment of evil: block of ice, cylinder, books/author- each film in the trilogy sees these bonds broken, threatening the outside world
-How evil survives as an inevitable thing. It builds through The Thing and Darkness and is set loose in Madness via an author of similar stories. In the first two films we don’t see the apocalypse happen, even though we’re left with a pretty clear sense that it’s imminent. In Madness, we exist in the world after the “evil” has decimated the earth. Then we go to the movies…